When Seconds Matter S
by Rhea's Teleplays
Summary: A serial killer couple has an insatiable hunger for murder. Roving from city to city they lure policemen to their deaths. They've arrived in Las Vegas, and chosen Nick.
1. Teaser

C.S.I. CRIME SCENE INVESTIGATION

"When Seconds Matter"

TEASER

FADE IN:

EXT. LAS VEGAS STRIP (STOCK) - NIGHT

Everyone is laughing. People are gambling and having a good time.

EXT. LAS VEGAS RESIDENTIAL - NIGHT

Nice homes. White-collar families. The streets slowly turn to ghetto on the shadier side of Las Vegas.

Here gangs rule the night, and the day. Police are arresting a handful of tough acting teenagers. In a house across the street, an older Latino woman is watching the news. A story comes on about a missing Las Vegas police officer.

A few blocks away is a high fence with a gate. City Property. Keep out. The fence is unkempt and has holes in it. There are a few patches, hasty, half-hearted repairs.

An access road leaves the ghetto and stretches into a light industrial area. It slopes down as the embankment around it rises. The road ends at a utility door set in concrete. It would resemble a bomb shelter, except it's covered with graffiti.

A newspaper page floats past, the main story: Fourth Day of Search for Missing Officer.

Four teens, including seventeen-year-old Mateo Sacilido, are adding to it. The Latino looks young for his age, and still innocent. Mateo is the only one not drinking beer, but they are all laughing at off color jokes as they spray paint.

Passing through the utility door...

INT. UTILITY TUNNELS - NIGHT

The tunnels go deep below the city. These tunnels are the real heart of Las Vegas. Without all these pipes and cables the modern-day Meadows would dry up and be consumed by the desert. Somewhere water drips. There's a steady hiss of steam from release valves.

A fat, happy sewer rat trots along the wall in search of its next meal. It stops, sniffing the air. Something delicious is in the air. It continues at a trot for a few more paces, then stops to rise up on its haunches and sniff again.

The rat drops to a gallop, chasing the scent. It slows as it comes to a dark liquid the color of chokeberries. The rat sniffs it before it starts lapping the liquid.

It's oblivious to the body that the liquid has run from. One arm of the body is been handcuffed to a pipe and is preventing the body from lying flat. The other arm is bent in an unnatural position.

The corpse twitches. The rodent freezes for a moment, listening for danger. There's no other sound. It starts to drink again. A soft moan escapes the body and the rat holds still.

The hand cuffed to the pipe twitches. The rat rises on it's haunches, sniffing. It slowly approaches the body. It sniffs at the hair coated with wet blood. It sniffs towards lips that allow ragged, labored breaths to escape.

Slowly the rat rises up on it's haunches, staring at **NICK** Stokes' bloody, swollen face. His eyes open. Rodent and man stare at each other.

The rat bolts.

CUT TO:

Opening credits.

FADE OUT.

END OF TEASER


	2. Act One

ACT ONE

FADE IN:

INT. CSI - INTERVIEW ROOM A - NIGHT

SUPER: Four Days Earlier

**MATEO** Sacilido and a child advocate sit in the room waiting for someone. They both jump when the door flies open. Nick storms around the table, stopping beside Mateo, and slams a bagged gun on the table in front of the teenager.

He grabs the teenager's shoulder. It's an action his older brothers probably did to Nick, right before they laid into him about something he'd done wrong.

NICK  
This gun was used in a murder,  
Mateo! Where did you get it?

Mateo is surprised by the information, at first. Then he attempts a tough guy act.

MATEO  
I dunno.

NICK  
Mateo, don't go tough on me. I know  
you aren't a murderer. Tell me  
where you go this gun.

MATEO  
How do you know I ain't?

Nick leans in, holding Mateo's steely glare. He isn't about to lose a kid that he cares about to gangs or a crime he didn't commit. Nick would even fight God himself to save this child.

NICK  
Boy, I oughta throw you in the  
cooler for a week for acting  
stupid! You have four months,  
Mateo, four months, before you're  
eighteen. Once you cross that mark  
I won't be able to keep bailing you  
out. All those college you were  
looking at on your computer--

Nick snaps his finger in front of Mateo's face.

NICK (CONT'D)  
Gone! You will be stuck in this  
life that has done nothing but  
gotten you a rap sheet and shot at.  
Give me something to work with,  
Mateo. You are too smart to let  
your future disappear by covering  
for a murderer.

Mateo tries not to act surprised.

MATEO  
What colleges? I haven't been--

NICK  
When I went to ask your mom about  
the gun she thought you were using  
the laptop I gave you to buy weapons.  
She asked me to look. She was so  
happy she cried when I found you  
had been looking at colleges. So  
let's try this again. Where did  
you get the gun?

They stare at each other. Mateo can't hold his bad boy act in front of Nick. His loyalty to Nick is deeper than who he's covering for.

MATEO  
(almost whisper)  
Domingo.

NICK  
Thank you, Mateo. You're free to go.

Nick heads for the door.

MATEO  
Hey, CSI guy.

Nick rolls his eyes as he turns.

NICK  
Do you have to call me that?

Mateo gives him an ornery grin.

MATEO  
So, you said, you know, that you  
think, I'm... Smart?

The question even makes the child advocate smile.

NICK  
Yeah.

MATEO  
Like, do you think, that maybe, I  
mean, not that I'm saying I would  
or anything, but what if I, maybe,  
was a paramedic? I mean, not that  
I'm really thinking about it or anything.

Nick's pride shines.

NICK  
So is that what you were doing on  
all those medical and paramedic websites?

Mateo shrugs.

NICK (CONT'D)  
You would be an awesome paramedic,  
Mateo. I hear it's a rush. And you  
get to speed, legally.

MATEO  
Yeah?

NICK  
Yeah. Watch your back after we  
arrest Domingo. Your gang will be  
looking for who ratted him out.

MATEO  
They'll be mad at you for having  
him arrested. Be careful.

NICK  
Always am. See you Saturday, Mateo.

Nick walks out.

INT. CSI - CORRIDOR - NIGHT

**GREG** is waiting outside the door and takes the bag as Nick passes. He falls into step beside him.

GREG  
You have been riding that kid since  
you first arrested him. What was  
he... Fourteen then?

NICK  
He's a good kid. He just needs a  
good role model.

**CATHERINE** comes out of a room, giving Nick a call ticket.

CATHERINE  
And you think you're a good role model?

NICK  
Next best thing to Iron Man.

GREG  
Next best thing to Carmine on South  
Park, you mean.

Nick shoots him a glare. Catherine laughs.

NICK  
Catherine, how am I ever supposed  
to get caught up if you keep  
sending me out on calls tonight?  
And I missed my lunch when Gregg-o  
called me about Mateo.

CATHERINE  
That's what you get for acting like  
his big brother. Besides, the day  
you actually get caught up is the  
day I retire.

GREG  
It's dollar tacos at Del Taco tonight.

That makes Nick's night.

NICK  
Del Taco here I come!

CATHERINE  
It's a wonder you haven't had a  
heart attack from their food. See  
you later, Nicky.

She turns at the next hall.

NICK  
Later, Catherine.

Greg peels off into a lab. Nick heads down the hall alone.

EXT. CAREY AVE. - NIGHT

A CSI Denali stops on the curb behind the M.E. van and a radio car. Nick gets out, turning back to grab his kit, his camera, and a taco from a bag of tacos. He walks over to the fence, glancing at the gate that's open a few yards down.

He slips through the corner that's been cut loose, and starts down the embankment.

EXT. ACCESS ROAD ditch CAREY AVE. - NIGHT

M.E. **DAVID** crouches next to an arm. Behind him Officer **BRIAN** Pascal paces like a caged animal. The road ends at a utility door set in concrete.

Nick finishes his taco before he reaches the bottom and stuffs the wrapper in a pocket. He glances at Brian as he joins David. Nick turns on his flashlight, shining it on the arm with David's. Right away he notices it isn't real, which puzzles him.

NICK  
David... Is that...

DAVID  
A prosthetic or prop. I can't tell  
in the dark.

NICK  
David! Why didn't you cancel the  
call if it's a fake arm? I have  
work to do!

DAVID  
Because I'm fairly certain the  
blood on it is real. It smells real.

Nick crouches down, sniffing the air. He nods; David's right. He snaps off a few photographs. Then he collects a swab of the blood and spritzes the end with luminol. It turns pink.

DAVID (CONT'D)  
Guess I'm off to the morgue with  
the Golden Arm.

Nick looks at him as he stands.

NICK  
Golden arm?

DAVID  
It's a ghost story. You haven't  
heard it?

NICK  
No.

BRIAN  
Is that really pertinent to the case?

The two look back at him. He still pacing. Sweat has wet his armpits and starting to form a dark patch on his chest.

DAVID  
(whisper)  
He hasn't stopped since I got  
here. Do you want me to call  
for another officer?

Nick shakes his head.

DAVID (CONT'D)  
He might be on something.

Nick shakes his head again.

NICK  
Head on out, David.

Nick starts searching for evidence, but keeps an eye on Brian as he works. David hurries up to his van, grabs a bag, and comes back. He bags the arm and leaves the two.

The ground is packed and stony. Broken bottles and litter are scattered everywhere. Finding evidence here is going to be hard.

Nick turns when he hears a bottle break. Brian is crouched with his arms wrapped around his abdomen.

NICK (CONT'D)  
Hey, are you all right?

BRIAN  
(breathless)  
I can't take any more insulin and  
I need food. So no, I'm not all right.

Diabetes. Nick hadn't seen that one coming. He digs his keys from his pocket.

NICK  
Heads up.

Brian looks up and Nick tosses his keys to him.

NICK (CONT'D)  
There's a bag of tacos in the  
front. Take however many you need.

The officer doesn't need prompting to head up to the Denali. Nick keeps working. He glances back when Brian returns with a handful of tacos. The officer sits on a piece of broken cement slab and eats while he keeps an eye on Nick.

Nick's search brings him to the utility door. It's ajar. There are bloody fingerprints on the outside, high up on the door, and one print on the handle. He photographs them and then pulls on gloves.

Nick runs his light down the edge of the door before he pushes his fingers against the edge and pulls the door open. A billow of steam greets him.

INT. UTILITY TUNNELS - NIGHT

He steps onto the grated landing just inside the door. The orange incandescent lights in their protective metal domes can barely penetrate the steam. Nick steps up to the railing. It's hard to tell what the equipment below is.

BRIAN  
STOKES!

The call makes Nick whirl around. Brian storms through the steam, grabs Nick's arm, and hauls him back outside.

EXT. ACCESS ROAD DITCH CAREY AVE. - NIGHT

Brian releases his arm.

BRIAN  
What is wrong with you? What were  
you thinking, Stokes?

Nick isn't sure how to respond, and even retreats when Brian unfastens the leather strap over his gun.

BRIAN (CONT'D)  
When I got sent on this call  
tonight, dispatch warned me about  
you. She said you are a disaster  
magnet. That you have this natural  
talent for getting in all the wrong  
places. So I go down the poorly lit  
stairway to Hell first. Apparently  
I'm supposed to get shot first and  
it's your job to shoot back. Got it?

Brian tosses Nick's keys back to him. Nick grins.

NICK  
By all means. I'd be happy to let  
you get shot first.

Brian just rolls his eyes. He keys his shoulder mic.

BRIAN  
Pascal to dispatch.

DISPATCHER

Dispatch. Go ahead.

BRIAN  
CSI Stokes and I are going into the  
utility access tunnels in the twelve  
hundred block of Carey Avenue. Be  
advised we will be out of communication  
range and will check in when we get  
back into range.

DISPATCHER  
Affirmative.

Brian leads the way inside.

INT. UTILITY TUNNELS - NIGHT

Nick has picked up a blood trail and is dropping markers as he and Brian walk.

NICK  
So I heard you're from Colorado.

Brian nods.

BRIAN  
Carbondale, Colorado.

NICK  
Small town?

BRIAN  
Yeah.

NICK  
That why you left?

BRIAN  
Naw. I left because my wife left me  
for the mayor.

Nick looks at him, expecting to see him smile at his joke. It's no joke.

NICK  
Seriously?

Brian nods.

NICK (CONT'D)  
Sorry. I didn't mean to bring it up.

Brian shrugs.

BRIAN  
She wasn't much of a wife. Lazy,  
couldn't cook, spent all my money  
and forgot to pay rent.

Nick laughs.

NICK  
Hope the town sheriff at least gave  
you a good recommendation.

BRIAN  
I gave myself a glorious recommendation.

Nick stops, surprised.

NICK  
You were the sheriff and you quit  
because of your wife?

BRIAN  
It wasn't just that. Three months  
before I quit, I chased this suicidal  
gone homicidal moron into an old  
gold mine and in a moment of Devil  
driven glory he grabbed a stick of  
old dynamite that was sweating  
nitroglycerin.

NICK  
There is no way that could have  
ended well.

BRIAN  
No. I turned tail and ran, which  
the idiot thought was because of  
him. I was about two hundred feet  
from the entrance when he blew  
himself up and caved in the entrance.  
I was in there for four days and  
almost died. After that, I wanted  
less responsibility and some time  
to myself.

NICK  
(muttered)  
I can relate.

The trail turns into a side tunnel with no lights. Brian and Nick shine their flashlights down the tunnel.

BRIAN  
I know it sounds real girly but...  
Maybe we should call for backup  
before following a trail of blood  
down an unlit tunnel.

Nick grins.

NICK  
It's okay, Brian. I'll protect you  
from the bogeymen.

BRIAN  
I'm pretty sure I don't like you anymore.

With an unconcerned shrug, Nick follows the trail. Brian hangs back, probing the darkness with his flashlight. Somewhere in the darkness fans come on, drowning out all other sounds.

Nick is focused on his search and doesn't notice Brian's flashlight hit the floor behind him. The flashlight rolls back and forth on Brian fighting off an attacker. He calls for Nick, but the fan drowns out his voice. Suddenly Brian drops.

Someone picks up the flashlight and turns it off. The **ATTACKER** charges Nick.

ATTACKER  
GET OUT OF MY HOUSE!

Nick turns. The light of his flashlight dances off a metal crowbar aimed at Nick's head. He leaps back and the crowbar hits his wrist, sending his flashlight flying.

It hits the wall and lands, rocking back and forth on the fight for survival.

Nick tries to get his gun. He gets it loose as the attacker hits his shoulder, sending the gun flying. It goes off, but fans silence the shot.

A dim light is moving fast toward the two. The fan shuts off and **SHANIA** can be heard.

SHANIA  
DADDY, STOP! STOP!

But the attacker doesn't stop. He knocks Nick off his feet.

SHANIA (CONT'D)  
No, Daddy. I'll stop him. I'll stop  
him like the other. Stop Daddy!

Nick turns his head, seeing a hand with a white cloth headed for his face.

**INT. WALTER GORDON'S SUBURBAN - NIGHT (RE-ENACTMENT)**

**Walter Gordon's hand snakes around the seat to push an ether soaked cloth against Nick's face. **

**BACK TO SCENE**

Nick comes up fighting, shoving Shania against the wall. He lunges at his attacker. Nick gets the attacker on the floor with his hands around his throat.

Shania comes up behind him and jams a needle in his neck. Nick collapses on his attacker.

EXT. CAREY AVE. - HOURS LATER

A CSI vehicle stops and Greg and Langston get out, armed with field kits. They go trough the gate, heading toward the people at the bottom.

EXT. ACCESS ROAD DITCH CAREY AVE. - NIGHT

Police swarm around the area around two ambulances. On either side a crowd of onlookers have gathered at the fences. As they reach the bottom Greg notices Mateo standing among the people on the opposite side.

He turns his attention away when he almost runs into someone. He and Langston head for the open door. Two paramedics emerge from the door with a gurney and someone on it. A hush falls over the policemen as the paramedics pass. Greg turns to Langston, keeping his eyes on the gurney.

GREG  
Go with Officer Pascal to the hospital.  
Start processing him on the way.

Langston looks for the person Greg is talking about.

LANGSTON  
Who?

Greg points at the gurney.

LANGSTON (CONT'D)  
How do you know--

GREG  
Ray, they aren't going to way for you.

Langston obeys. Greg heads underground to search for Nick.

FADE OUT.

END OF ACT ONE


	3. Act Two

ACT TWO

FADE IN:

INT. SITTING ROOM - NIGHT

The pop, hisses, and cracks of a record playing close by.

Nick has been sat against a wall. He's gagged, and his wrists and angles are bound with zip ties. He's missing a sneaker, his vest, and sidearm, and there's a large rip in his jeans, exposing a deep, ragged gash.

He comes to and realizes he's tied up. He tries to struggle, but it's lived.

Nick takes in his surroundings with a trained eye. If it weren't for the pipes overhead, cement walls and floor, and no windows, the room could easily be mistaken for a Victorian sitting room.

Placed in the center is an antique table and chairs. Against one wall is an antique Victorola -- the source of the sound.

The door opens and the attacker, **DANIEL**, enters. Nick watches him, bent between wariness and anger. Daniel is unkempt and dirty with long hair that time has woven into dreadlocks.

His wild-eyes would tell anyone he is scary crazy. He goes to the Victorola and changes the record, acting as though Nick isn't even there.

Shania enters with a glass of water and plate with a sandwich on it. She is a tall, thin, and homely woman. Her clothes are worn but clean. Her long hair hangs past her waist in two braids.

SHANIA  
(to Daniel)  
Lunch is on the table.

Daniel turns and snatches the plate from her. She turns to him, acting frightened.

DANIEL  
No food.

SHANIA  
He needs to--

Daniel leans in.

DANIEL  
NO FOOD!

She looks down. He leaves with the plate. In the next room glass shatters. She turns and walks over to Nick, kneeling next to him. She pulls the gag off.

SHANIA  
Talk quiet. He doesn't like loud  
voices and hates men. Don't give  
him a reason to kill you.

She lifts the glass up for him to drink. Nick pulls back, not taking his eyes off her. He remembers her from the tunnel. He has no reason to trust her.

SHANIA (CONT'D)  
I didn't do this.

NICK  
You helped him.

SHANIA  
If I didn't help him you'd be  
dead right now. Like that poor  
other man.

NICK  
What happened to the man that was  
with me?

SHANIA  
Daniel killed him.

Nick manages to keep it together.

NICK  
Is that guy really your father?

She looks down, shaking her head.

SHANIA  
(pathetic)  
That's what he makes me call him.

Nick isn't buying this story, but he's too smart to let on that he doesn't.

NICK  
That's awful. Did he kidnap you?

She nods.

NICK (CONT'D)  
Cut me loose. I'll go get the  
police and get you out of here.

She looks up at him, shaking her head.

SHANIA  
I can't do that. He'd beat you  
to death this time. I couldn't  
stop him.

DANIEL (O.S.)  
Come eat, Shania.

NICK  
What's his name?

SHANIA  
Daniel. Why?

DANIEL (O.S.)  
NOW!

She jumps up and hurries out of the room, closing the door. Nick tests his bonds again.

INT. UTILITY TUNNELS - NIGHT

Greg dips an evidence swab in the blood and lifts it to spritz with luminal. He's not surprised that it turns pink and boxes it.

He glances back at the first attack site flagged with crime scene markers. Then at the end of the tunnel where four officers stand guard. Nearby, two more wait silently while Greg works.

Greg looks at the trail of blood leading away from the second attack site. He uses his flashlight to illuminate it as it goes off down the tunnel. At that end there's a single light, but it's so far away it looks no bigger than his flashlight.

Greg grabs a handful of swabs and camera, pushes the swabs into his back pocket, his camera, and follows the blood trail. The officers nearby trail close behind him.

The trail turns at the end and runs up to a lift shaft. Blood is smeared off the edge. Greg looks into the shaft. Most of the lights are out and he can't see the bottom or the lift. He tugs latex gloves from a pocket and pulls them on, then pushes the call button. Nothing happens. He tries again. Still nothing.

GREG  
Hold this.

Greg shoves his camera to into an **OFFICER's** chest. The man takes it and Greg drops to his stomach at the edge of the shaft. He grabs a bar on the railing and inches forward.

OFFICER  
Sanders, I don't think this is a  
good idea.

GREG  
When it's your partner missing, you  
can tell me what risks to take.

The officer makes no further comment.

Greg probes the dark underside of the shaft with his flashlight. Blood has congealed along the edge where the blood marks run off the edge.

GREG (CONT'D)  
Can one of you hand me a swab from  
my back pocket? And uncap it?

**RILEY** comes up behind him, grabbing a swab and opening it for him.

RILEY  
Here ya go.

Greg puts his flashlight in his mouth and swabs the blood, then hands the swab and flashlight to her. He pushes/pulls himself back and gets up. Riley holds the swab out to him.

GREG  
There's more evidence back in the  
tunnel that you need to take back.

Greg takes his camera instead, replacing the memory card.

RILEY  
I came to work on the scene with you.

GREG  
There's a lot the techs need to get  
started on, and I can't leave  
until I can follow the trail down  
the shaft.

RILEY  
I came to work on the scene, Greg.  
Why don't you--

GREG  
I wasn't asking!

Silence. Steam and dripping water can be heard. Greg immediately regrets his outburst.

GREG (CONT'D)  
Every hour that passes is one hour  
we're less likely to find him alive.  
This blood trail could lead to him.  
I can't leave.

Riley holds her hand out.

RILEY  
Archie can start on the photographs.

Greg gives her the memory card and she leaves. Greg looks at the officers.

GREG  
I need this lift working. The trail goes  
down, that's where I have to go.

OFFICER  
We'll have to call utilities.

The two start to leave. Greg doesn't move. They turn when they realize he's not following.

OFFICER (CONT'D)  
We have to find a service phone to  
do that.

GREG  
Then find one and tell them to hurry.

OFFICER  
We can't leave you here.

GREG  
It's your partner and friend that's  
missing. All that's been found is  
his sidearm and blood. The trail  
ends at a shaft. Would you leave?

They look at each other. The Officer sighs, shaking his head.

OFFICER  
(to partner)  
I'll wait with him. Find a phone.

His partner leaves.

INT. SITTING ROOM - NIGHT

Nick has a two-day-old full beard. His wrists and ankles are bruised around the zip ties where he tried to pull them loose. He hums or mutters song lyrics to keep his mind busy.

The door opens and he watches it. Shania comes in with a sandwich and glass of water. She stops to close the door behind her and then turns to him. There's a fresh bruise on her cheek. She kneels next to him.

NICK  
Won't you get in trouble for  
bringing me food?

SHANIA  
(whisper)  
He's sleeping. Keep your voice down  
and eat.

She offers him the sandwich. He eats, watching her. She offers him the water.

SHANIA (CONT'D)  
You don't look good with a beard.

NICK  
Bring me a razor.

She doesn't offer to bring one.

NICK (CONT'D)  
That bruise is new.

SHANIA  
I forgot to straighten the towels.

Nick doesn't look convinced. She offers another bite and drink to him.

SHANIA (CONT'D)  
He sleeps very light. So when I cut  
you loose, you have to be very,  
very quiet. If he catches you,  
you're dead. Understand?

Nick isn't sure he can believe what she's saying.

SHANIA (CONT'D)  
Do you understand or not?

He nods.

She sets the glass and sandwich down. From her bra she pulls out a pair of children's scissors and starts sawing the blades across the zip tie around his ankles.

The door slams open as Daniel charges in. Shania spins, trying to hide the scissors.

DANIEL  
WHAT ARE YOU DOING!?

He grabs her arm, yanking her to her feet and the scissors from her hand. She moves between him and Nick.

SHANIA  
His ankles were bleeding. I was  
going to put on a new one. I'll  
do anything if you don't hurt him.

Daniel pulls her close.

DANIEL  
Anything?

She stares into his eyes.

DANIEL (CONT'D)  
Anything at all?

Shania pulls away, moving to the side. She meets Nick's eyes. She wouldn't do _anything_ to save his life.

Daniel looks down at Nick and sneers. He grabs Shania's arm and storms out with her. The door slams shut and the two start yelling at each other.

Nick works his legs, quickly tearing the half cut zip tie. He gets up and goes to the door, listening. It's silent in the next room.

He searches the room for anything to cut the zip tie on his wrists. Most of the drawers are locked. The ones that aren't have nothing useful.

He stops and looks at the Victorola. He gets the lid open and picks up the record. Nick moves to the edge of the table and readies to smash the record on the end.

He stops and looks at the door. This would make way too much noise. He sets the record down and backs up to the Victorola.

He slips the lever over the arm to lock it in place, then uses the thick needle to start punching holes in the zip tie. And his palms and fingers.

INT. CSI - MAIN LAYOUT ROOM - NIGHT

The CSI have no leads. Riley and Langston are going over the evidence they do have with magnifying glasses and tweezers. Most are Brian's clothes and Nick's gun, bloody vest, a piece of his jeans, and one sneaker.

Catherine is examining the photos hung up on the light boards, searching for anything to lead them to Nick. The three don't see Wendy stop outside the room and watch them. The news in the folder she's carrying is bad.

Hodges stops in the hall with her and they talk. The conversation brings Wendy to tears.

Hodges pulls the folder from her and looks over the papers. He smiles and pats her arm as he tells her something. She's grateful. Hodges takes a deep breath, and goes into the room.

He stops inside the door and clears his throat to get their attention. And then focuses on Catherine.

HODGES  
I have the DNA results from  
the blood samples. There is...  
Bad news.

Catherine glances at Wendy. The lab tech quickly looks away. Catherine lays her magnifying glass down and braces for the worst.

CATHERINE  
Go on.

HODGES  
Starting with the arm...

He pulls that sheet out.

HODGES (CONT'D)  
The blood was a mix of human, a  
male, and feline DNA. No matches.  
The sample collected at the lift  
was seven different male donors,  
including Nick.

Hodges changes papers.

HODGES (CONT'D)  
At the first scene in the tunnels,  
the one closest to the exit, the  
largest donor was Officer Pascal  
and an unknown male. The largest  
donors at the second scene were  
Nick and the same unknown male,  
but a PCR test was able to identify  
Officer Pascal's blood also.

LANGSTON  
Perhaps the attacker transferred it  
from Pascal to Nick?

Catherine ignores Langston's question.

Before Hodges continues, he takes out a stack of papers that he slides in front of her.

HODGES  
The bad news is that Wendy did get  
a hit on the unknown male from the  
arm and the attack sites. But it  
isn't going to help us find him.

Catherine skims the papers.

HODGES (CONT'D)  
This unknown male DNA has been  
found at thirty-seven crime scenes  
across the country, all involving  
male individuals of law enforcement.  
The men were missing for a week and  
found after a letter arrived with  
an anonymous tip. All of the men  
had been severely beaten. Of the  
thirty-seven, four were found  
alive. Three died weeks later and  
one is in a vegetative state. There  
is no indication of a motive or  
pattern. Catherine...

She looks up at him.

HODGES (CONT'D)  
This man isn't going to ask for  
ransom. He doesn't want Nick found  
until it's too late. There's no web  
cam this time.

They stare at each other. Not knowing Nick's past, Riley doesn't pick up on what Hodges is talking about.

RILEY  
Even with a web cam or ransom  
demand, I doubt this guy would make  
it easy for us to find him, Hodges.  
I can contact the police on the other  
cases and see if the other officers  
reported following evidence, leads,  
or calls. There has to be something  
here, Catherine.

Catherine doesn't speak. Hodges doesn't look away. Catherine hands him back the papers.

CATHERINE  
Thank you, Hodges. Perhaps you and  
Wendy should take an early lunch,  
get some air.

HODGES  
We'll do that.

Riley watches him walk out and put his arm around Wendy. He guides her away.

LANGSTON  
Catherine? Are you all right?

Riley looks back at Catherine. She's on the verge of losing it.

CATHERINE  
Keep going over everything. Maybe...  
Keep going over everything.

Catherine leaves. Langston does as he's told. Riley glances at him.

RILEY  
What do you think that was about?

LANGSTON  
Hm?

RILEY  
How she just reacted? Do you think they  
have something going on the side?

LANGSTON  
No.

Riley looks at him.

RILEY  
How can you be so sure?

LANGSTON  
Hodges once told me that some time  
ago Nick was kidnapped. In that  
case they had evidence, the kidnapper  
put on a show, and they were able  
to find Nick in time. She's worried  
because we have nothing and we may  
be too late when we find him.

Riley stares at him, even after he's gone back to work.

RILEY  
Suddenly everyone's really short  
temper makes a lot of sense.

She starts on the evidence also.

INT. ECKLIE'S OFFICE - NIGHT

Catherine bursts into Ecklie's office and falls into a chair crying. He's on the phone.

ECKLIE  
I need to call you back.

Ecklie hangs up and moves to the chair next to her.

CATHERINE  
Can I stay here for a few minutes?

ECKLIE  
Yes. Of course. Do you want the  
blinds closed?

She nods. He closes the blinds and grabs a box of tissues on his return.

ECKLIE (CONT'D)  
What's going on, Catherine?

CATHERINE  
Wendy matched DNA from Pascal and  
Nick's attacker to other murders.  
The attacker kidnaps policemen, a  
few days later they're found left  
for dead, if they aren't already  
dead. No one knows the murderer's  
identity and we have nothing to  
find him, Conrad. Nothing!

Ecklie looks down at the box of tissues. He looks up when she grabs a couple and starts dabbing her slowly ending tears.

ECKLIE  
I'm sorry. I... I wish I could do more.

She smiles at her tissue, almost laughs.

CATHERINE  
Funny thing is, Conrad, when  
Grissom was here I'd never have  
believed that.

She looks up at him.

CATHERINE (CONT'D)  
Now I get it. You pulled in all of  
swing. Every officer in the city is  
looking for him. If we can't give  
them somewhere to look, something  
to look at, there's nothing else  
left. There's not even a ransom  
this time.

He shakes his head. She looks at the tissue. Ecklie reaches out and lays his hand on hers. It makes her start crying again.

INT. UTILITY TUNNELS - NIGHT

With three anxious officers right behind, Greg is searching the floor. There's no blood trail, but that doesn't stop Greg. He turns a corner and stops, staring at the dead end. Defeat.

The officers wait for a minute or two, watching him. The officer from the lift shaft approaches him.

OFFICER  
You know what I'm going to say,  
don't you, Sanders?

Greg doesn't answer.

OFFICER (CONT'D)  
The trail stopped five, six tunnels  
ago. Just stopped. No body. No other  
evidence. I think we have to  
prepare for the worst now.

Greg doesn't move. The Officer returns to the other two and they whisper for a few seconds. The Officer motions them to wait and they stop, waiting.

Greg stares at the wall. If he only had x-ray vision...

INT. SITTING ROOM - NIGHT

Nick has poked his fingers and palms so many times his hands are wet with blood, but the zip tie is finally starting to tear. He pulls away from the needle and twists the zip tie back and forth until it tears apart.

He goes to each of the three tunnel vents, determining if any are big enough for him to fit through. He places a chair under the largest one and climbs onto it, looking at the screws. He pulls his keys from his pockets, searching them for a makeshift screwdriver.

He turns when the door bursts open. Daniel comes in and at first is surprised to see him on the chair. Then he charges toward Nick like an enraged bull.

In a fast reaction, Nick leaps off the chair, dropping his keys, and grabs another chair. He swings it, bringing it solidly across Daniel's face.

The hit throws Daniel against the wall. Nick lifts it to bring it down on Daniel again when a crowbar hits him between the shoulders, making him stumble forward.

He doesn't look; he just swings away like a baseball batter. He catches Shania in the side and throws her across the room.

Daniel is starting to get up. Nick whirls around, slamming the chair hard against Daniel's head. The blow throws the crazed man against the wall and he's knocked unconscious.

Behind Nick, Shania has gotten to her feet and runs at him, screaming.

Nick turns, catching the crowbar in the legs of the chair. She pulls it back, tries again. He glances at Daniel. He's starting to come around. Nick swings again, knocking Shania off her feet.

The chair shatters on this hit. Nick throws the pieces at her, scoops up his keys, and runs.

FADE OUT.

END OF ACT TWO


	4. Act Three

ACT THREE

FADE IN:

INT. UTILITY TUNNELS - NIGHT

Nick runs out a door into a tunnel. Behind him someone screams. He glances over his shoulder.

Shania is chasing him armed with the crowbar. Nick turns two corners before running into Daniel. Nick doesn't let his surprise get the better of him. He swings his fist at Daniel.

Daniel ducks, turns, and snaps the end of a pair of handcuffs around Nick's wrist. He yanks the open cuff hard, throwing Nick off balance, and snaps it around a thick steam pipe.

Nick turns, right toward Shania. She swings the crowbar up, catching his chin and slamming the back of his head against the pipe. Nick throws up his arm to block the next swing.

The crowbar hits the top of his forearm.

**CSI POV**

**Hairline fractures spilt across the ulna and radius.**

**BACK TO SCENE**

Shania swings again.

**CSI POV**

**The bones snap.**

**BACK TO SCENE**

Nick sees the crowbar coming at his head. He turns his shoulder to her and uses his upper arm to protect his head. She hits his humerous again and again.

**CSI POV**

**The bone fractures with each hit until it shatters in several places. **

**BACK TO SCENE**

Nick can't keep his arm up and she gets a solid hit against the back of his skull, sending him forward to the floor.

He quickly sits up, expecting another hit right away, but finds her held back in Daniel's arms. The man runs his hands over her body. He grins at Nick -- Satan himself. She's in ecstasy in her lover's arms.

DANIEL  
How many will this make, baby?

She laughs.

SHANIA  
Thirty-eight!

DANIEL  
That's three more than Bundy.

She turns into his hand when he runs it down her face.

DANIEL (CONT'D)  
Bash his skull in, baby. I'll watch  
this time.

Shania laughs and swings the crowbar at Nick's head.

Knowing his fate, Nick closes his eyes and braces for it.

It begins with a loud CRACK!

FADE TO:

INT. UTILITY TUNNEL - LATER

Nick and the rat stare at each other. The rat bolts. Nick closes his eyes. He tries to move his arm and cries out. The cry subsides to silent tears.

A **DARK STRANGER** moves without a sound toward Nick. The light seems to move with him, keeping him hidden in the shadows and never revealing his face. His silhouette hints that he is not Daniel, his height and hairstyle are different.

DARK STRANGER  
Don't you dare give up, Nicholas.  
Don't you dare!

Nick's eyes slowly open again. He watches the person stop across the tunnel from him. The light moves with the person, preventing any features from showing.

NICK  
Help me.

DARK STRANGER  
I can't do that. You have to do  
that. Sit up.

NICK  
Please... Help me.

DARK STRANGER  
Come on, Nicky. You can do this.  
Reach for your keys. Get the  
handcuff key.

NICK  
My arm's broken.

DARK STRANGER  
Think it through. It's going to  
hurt like hell, but you can do  
this. You have to.

NICK  
Why?

The Dark Stranger doesn't answer.

Nick closes his eyes and wraps his hand around the handcuff link. Slowly he pulls himself to his feet. He tries to get in his pocket with his handcuffed hand, but the hot steam pipe nearby keeps him from doing that.

Nick closes his eyes and with effort drags his broken arm across his body. As he's stretching, the last shred of bone breaks. It makes him scream and fall against the steam pipe, burning his good arm. Nick pulls back, leaning against the wall and pressing his cheek to the cool cement.

DARK STRANGER  
Come on, Nick. You have to do this.

NICK  
Help me. Please.

DARK STRANGER  
I can't help you. You're the only  
one that can get you out of here.

NICK  
HELP ME!

The stranger charges at him, into the light. Nick stares wide-eyed and terrified. Who he's seeing cannot be real.

DARK STRANGER  
Save yourself, Nick! Do it now!

EXT. Csi buildiNG - EVENING

Greg sits on steps, pulling apart a dandelion. He doesn't look up when Catherine sits next to him. Her eyes are red and puffy from crying. The sun hangs low in the west.

GREG  
It'll be five days tomorrow. Do  
ya think he'll give us Nick's  
body soon?

Catherine closes her eyes. She leans on her legs, hugging her arms. Greg rips the dandelion apart and throws it at their feet. She just stares at it.

CATHERINE  
I had to call his parents. Again.  
Do you know what his mother asked me?

GREG  
What?

CATHERINE  
Why does this keep happening to our  
son? I thought being a CSI wasn't  
supposed to be a dangerous job. I  
didn't know how to answer that.

Greg puts his arm around her.

INT. UTILITY TUNNELS - NIGHT

Nick staggers through the tunnels, using the pipes for support. Blood has congealed around his injuries and he leaves no blood trail. Nick reaches a metal staircase leading to a utility door. He stares up the staircase. It may as well be Mount Everest.

DARK STRANGER  
Come on, Nicky. You can do this.

Nick doesn't move. The dark stranger walks up behind him, but his footsteps are silent.

DARK STRANGER (CONT'D)  
Don't stop. Keep moving. Gotta keep moving.

NICK  
You... Are an hallucination.

The stranger stops at his shoulder. Nick looks up at **WARRICK**.

NICK (CONT'D)  
Stop talking to me. You're dead.

Warrick shrugs, looking up the stairs.

WARRICK  
Doesn't matter if I'm dead or not, Nick, you can't stop now.

Nick starts to sit down. Warrick leans over, meeting his eyes.

WARRICK (CONT'D)  
Nicholas Stokes doesn't quit. Get  
up. Walk out of here.

NICK  
You aren't real.

WARRICK  
There are people up there that  
depend on you. You are not going  
to just lie down and die. I won't  
let you.

NICK  
YOU AREN'T REAL!

WARRICK  
MOVE IT!

They glare at each other, but Nick caves. With his good arm he grabs the railing and starts up the stairs.

EXT. ACCESS ROAD DITCH CHEYENNE AVE. - NIGHT

Mateo Sacilido laughs with the other gang members as they drink and spray paint the utility entrance wall with tags. A **GANG MEMBER** pulls back from the door, staring at the door handle.

GANG MEMBER

The handle just moved.

The others jeer him. He waves it off and goes back to work. Suddenly the door flies open, hitting him in the face and knocking him back. The others fall back, staring.

The orange light and steam masks the identity of the person standing in the doorway. Slowly the person comes out, revealing Nick. He doesn't even notice them.

The boys move into a group with the Gang Member and Mateo at the front.

GANG MEMBER (CONT'D)  
That's the CSI that's been missing.  
The one that had Domingo arrested.

In this light Nick looks more like a zombie. He shuffles along the wall, heading toward the fence above. The side he's headed toward doesn't have any holes.

GANG MEMBER (CONT'D)  
Come on. We don't want to be near  
here when the bastard dies.

They head for the fence on the other side. There are several large holes on this side. Mateo falls back in the group until he stops. He turns, watching Nick.

GANG MEMBER (CONT'D)  
Come on, Mateo.

He looks up at them, then back at Nick. Mateo turns, walking toward Nick. He pulls a switchblade from his pocket, snapping it open.

GANG MEMBER (CONT'D)  
KILL HIM! KILL HIM, MATEO!

The gang starts cheering him on, encouraging him to kill the CSI that helped arrest Domingo.

INT. CSI - INTERVIEW ROOM A - LATER

An officer stands at the door watching Mateo. He's wearing an orange jumper and is on edge. He shakes his leg, staring at the table.

Next to him sits a very young, inexperienced, and cheap, **LAWYER**. Money is the only reason he's representing Mateo.

They look up when Catherine walks in. She sits down, placing a folder on the table.

MATEO  
How's Nick?

CATHERINE  
Feeling guilty?

MATEO  
I already told you people I did not  
hurt him! Jesus!

Catherine pulls out photos of Mateo's blood covered clothes, slapping them before him. Mateo looks at them, then her. He leans forward a little.

MATEO (CONT'D)  
Ain't you missing a few?

CATHERINE  
Such as?

MATEO  
The bandana and shirt I used to  
bandage him. If I hurt Nick, why  
would I have used my own clothes  
to bandage him up? Did ya think  
about that?

CATHERINE  
To make it look like you didn't  
do it. But the evidence is  
right here, Mateo.

She motions at the photographs.

CATHERINE (CONT'D)  
You were covered in his blood.

MATEO  
No shit! He was covered in blood  
and he couldn't stand. I held him  
up. That's how I got his blood all  
over me! I keep telling you this  
and you ain't listening to me!

CATHERINE  
We went into the utility tunnels,  
Mateo. We found a couple drops of  
blood at the top of the stairs, but  
nothing else. And your gang says they  
weren't there last night. Which  
leaves you there, by yourself,  
with a critically wounded CSI. Your  
story doesn't match the evidence.

MATEO  
I don't know why there wasn't  
anything. And those losers ain't  
gonna back me up. I turned my  
back on them when I refused to kill  
Nick. The hell with them! Don't  
need those bastards anyway.

Catherine is conflicted by what Mateo's saying, and what the evidence is saying. She goes with the evidence.

CATHERINE  
You told us that night that...

She opens the folder, pulling a transcript out.

CATHERINE (CONT'D)  
Nick was conscious until the police  
car showed up, and during that time  
he told you the descriptions of  
your accomplices.

MATEO  
They are not my accomplices! He  
talked to me some, told me names  
and descriptions. Then he passed  
out.

CATHERINE  
How convenient.

Mateo is getting frustrated. He looks to his lawyer for help, but the man isn't getting involved.

CATHERINE (CONT'D)  
Why'd you run, Mateo? If Nick means  
so much to you, why did you abandon  
him and run from the officer?

MATEO  
Cuz I...

Mateo is ashamed of the answer.

CATHERINE  
You're what?

MATEO  
The officer came around the car  
with a gun pointed at me. I knew  
exactly how this was going to play  
out. I was right, wasn't I? Ghetto  
gangster kid must've done it. You  
don't care about the truth. Nick...

Mateo looks at his handcuffed hands, making a face to hold back his tears.

MATEO (CONT'D)  
Nick was wrong.

CATHERINE  
Wrong about what?

MATEO  
He always says to me 'Mateo, trust  
the evidence. The evidence don't  
lie. It'll protect you. I'll  
protect you.'

Mateo glares at her.

MATEO (CONT'D)  
He was wrong. He let me down just  
like everyone else I know. The evidence  
is lying and he isn't here to protect  
me. You know what? I'm done trying  
to talk to you. Talk to my lawyer.

The statement surprises the lawyer. He looks at her.

LAWYER  
You heard him. We're done.

Catherine's satisfied she has enough and leave.

FADE TO:

INT. SUNRISE HSP - ROOM 412 - EVENING

Greg sits in one chair. He has a laptop on his lap and is typing a report based on pieces of notes scattered on the chair next to him.

SUPER: Two months later

The sun is drifting behind the western horizon and Las Vegas is lighting up.

Nick sleeps in the bed. He doesn't look as bad as he did before. He's clean-shaven and has color. There are faint bruises on his face. One arm from shoulder to hand, and one thigh, are in casts.

Nick opens his eyes. He slowly takes in his surroundings until he finds Greg. He stares at Greg for a few moments, like he doesn't believe what he's seeing.

NICK  
Are you real?

Greg looks up and beams. He sets his computer aside as he stands up next to the bed.

GREG  
I'm real. Nice to have you back  
with the living.

NICK  
I gotta give you Daniel and Shania's  
description. You have to catch  
them. They're--

GREG  
We already have them. We put their  
description in all the papers and  
on TV. Someone spotted them and they  
were apprehended.

**EXT. SUNDOWN MOTEL (RE-ACTMENT)**

**SWAT are quickly clearing out the rooms around room number 12. BRASS and Catherine wait behind cars, watching anxiously. On a signal, SWAT burst into the room. There's yelling, screaming, then things calm down.**

**In handcuffs they march out Shania and Daniel.**

**CATHERINE  
I want to kill them.**

**Brass pats her arm.**

**BRASS  
That's what makes you better  
though, doesn't it? You aren't.**

**CATHERINE  
Maybe they were trying to escape.**

**Brass looks at her. She really could kill them right now. Brass reaches out, unfastens her side arm, and takes it.**

**BRASS  
Let's get those swabs and prints,  
and get out of here. Okay?**

**She nods. She picks the kit sitting next to her feet and follows Brass toward them.**

FADE OUT.

END OF ACT THREE


	5. Act Four

ACT FOUR

FADE IN:

INT. SUNRISE HSP - ROOM 412 - NIGHT

Nick is confused.

NICK  
How were they apprehended so soon?  
Did they have a record?

GREG  
No, Nick, they didn't have a record,  
and you've been in a coma for two  
months. Mateo rolled on them. Told  
us what they looked like.

NICK  
No Greg, not Mateo. He didn't do  
this to me.

GREG  
I know you think he's--

NICK  
Mateo saved my life.

GREG  
He had your blood all over him.  
Under his nails, in his hair. He--

NICK  
He held me when he walked me up a  
hill. I'm sure he was covered in my  
blood. He held me up.

GREG  
But the evidence--

NICK  
You didn't interpret the evidence right.

Greg considers his options. He picks up a pad of paper and pen, then sits back down.

GREG  
If you need a break, tell me. Start talking.

Nick doesn't start talking. Greg looks up at him. He's staring at Warrick standing in the coroner of the room.

Greg looks at the corner, but he sees nothing.

GREG (CONT'D)  
Nick?

Nick looks at Greg.

NICK  
I came out of the tunnels and I was  
almost dead when he found me...

**EXT. ACCESS ROAD DITCH CHEYENNE AVE. - NIGHT (RE-ENACTMENT)**

**With his gang encouraging him to kill Nick, Mateo approaches him. Mateo reaches out, taking Nick's good arm. Nick panics and starts to pull away.**

**NICK  
Get away! Get away! You're not real!**

**MATEO  
(soothing)  
It's okay CSI Guy. It's Mateo. I  
won't hurt you.**

**NICK  
Mateo?**

**The cheering dies off when Mateo uses the knife to cut the shirtsleeve around Nick's swollen broken arm. He slides his arm around Nick to support him.**

**MATEO  
Come on.**

**Nick leans on the teenager. They turn to find the gang has abandoned Mateo. The teen holds Nick close. Nick's blood transfers to Mateo's skin, hair and clothes. It gets under his fingernails when he grips Nick's side and good arm to keep him from falling.**

**He walks Nick toward a large hole in the fence...**

**EXT. CHEYENNE AVE. - NIGHT (RE-ENACTMENT)**

**They stagger up the embankment to the curb and Mateo sits Nick down. The teen looks up and down the deserted road. There is no help in sight. What lots aren't for sale, are abandoned until morning.**

**Mateo digs his phone out and discovers the battery has died.**

**MATEO  
Stupid phone!**

**Angry, he chucks the phone into the street.**

**Mateo looks down at Nick. Nick can't hold onto consciousness much longer. He sits down beside Nick. **

**NICK  
(whisper)  
I'm so tired, Warrick.**

**MATEO  
I'm Mateo, Nick.**

**Nick slowly leans over and lays his bloody head on the teen's shoulder. Mateo puts his arm around Nick, his brotherly love for the man on his sleeve.**

**MATEO (CONT'D)  
It's okay, Nick. Someone will come  
by. I know it.**

**NICK  
(whisper)  
My head hurts. I'm seeing dead people.**

**Mateo pulls his bandana off his head, one of his gang symbols. He looks up at Nick's face, back at the bandana, then Nick. He starts untying the knot and uses it to bandage Nick's head.**

**MATEO  
Yeah? Like in that movie with that kid?**

**Nick barely nods.**

**MATEO (CONT'D)  
Tell me who hurt you.**

**NICK  
Daniel. Shania. They're crazy. They  
just kill to kill. Crazy.**

**Mateo pulls off his over shirt, smearing blood across his white tank. He uses his knife to cut the shirt to make a sling for Nick's broken arm.**

**MATEO  
Tell me what they look like. I'll  
cap their asses for you.**

**NICK  
No ass capping.**

**Mateo looks down. Nick starts to fall over and Mateo catches him, hugging one arm around him.**

**MATEO  
Okay. What do they look like?**

**NICK  
They're both blonde.**

**Nick starts to fade and his voice follows.**

**NICK (CONT'D)  
Shania's 160, 170. Five two.  
Daniel's six foot. Two hundred.  
Dirty. Tangled. Hair.**

**MATEO  
Okay. I'll tell those people you  
work with. Okay?**

**Nick doesn't answer. Down the block a car turns the corner and the headlights flash across them. Mateo carefully lays Nick on the sidewalk, then gets up, waving his arms to get the driver's attention. **

**On top of the car flashing lights come on. Mateo's arms drift down. He starts to retreat, but stops, looking down at Nick. He remains apprehensive but saving Nick keeps him there. For now.**

**The car stops and after a moment, the door opens. The Officer comes into view with his gun aimed at Mateo.**

**OFFICER  
Against the car.**

**MATEO  
No. Man. He said Shania and Daniel  
did this. Nick said--**

**OFFICER  
Against the car now!**

**In the distance sirens are quickly approaching. Mateo is torn between staying and avoiding arrest. The officer takes a step toward him and Mateo bolts down the embankment. The officer chases him. **

**On the street an ambulance and several radio cars arrive on the scene.**

**EXT. ACCESS ROAD DITCH CHEYENNE AVE. - (RE-ENACTMENT)**

**The officer chases Mateo through the hole in the fence and out into the utility road. He gains fast and tackles Mateo, bring him down. The officer drives his knee into the teenager's back to force him down.**

**MATEO  
I didn't do anything! I was helping him!**

**OFFICER  
Covered in blood? I doubt that.**

**The officer cuffs the teenager, hauls him to his feet, and marches him toward the embankment.**

**EXT. CHEYENNE AVE. - (RE-ENACTMENT)**

**They reach the sidewalk as a CSI Denali screeches to a halt. Greg and Catherine jump out, heading for the paramedics around Nick.**

**As Mateo passes, he tries to see what's going on. Only Greg notices and they meet each other's eyes. **

**Catherine kneels next to Nick with the paramedics, focused on him. Greg turns away as the officer puts Mateo in his car.**

INT. UTILITY TUNNELS - NIGHT

SUPER: Present

Armed with field kits, Catherine, Greg, Langston, and Riley lead a detail of six police officers through the utility tunnels.

Greg is on point and follows a trail of dried blood handprints on the wall and a trail of dried blood on the floor. The trail turns a corner and they stop at the edge of a puddle of blood.

Droppings and tiny footprints are the only signs rats feasted on the blood before it dried. Nick's keys are in the blood.

**CSI POV**

**Greg sees Nick dropping them once he has the handcuffs unlocked. Nick leans against the wall where there's a cheek print. Blood runs down the wall from still bleeding head wounds.**

**BACK TO SCENE**

Catherine shines her light down the tunnel. Four tunnels break off and there is no blood trail to tell them which one Nick ran from.

CATHERINE  
Okay. Let's pair off and search  
these tunnels here. He had to come  
out from somewhere. Remember, he  
said there was what looked like a  
break room, and he was kept in a  
room that looked like a sitting room  
with an old crank-style record player.

The officers and CSI start searching. Greg and two officers take the last tunnel. He spots a door standing open. He enters and finds the abandoned break room.

Greg glances at another door that stands open and leads into the tunnels. He heads for a third open door and uses an elbow to tap it open. He's found the Victorian sitting room.

INT. SITTING ROOM - NIGHT

GREG  
(to officers)  
Go tell them we found it.

Greg glances at the broken chair on the floor.

**CSI POV**

**Greg sees the ghost of Nick using it to fend for his life. **

**BACK TO SCENE**

He walks over to the Victorola. The bloody zip tie that bound Nick's wrists is on the floor. Blood has dried inside and on the needle. Greg wanders to a chair under a vent.

He looks up at the vent.

**CSI POV**

**Nick could have easily fits through it and crawled to safety. **

**BACK TO SCENE**

Catherine enters the room.

Greg looks down, stopping at the zip tie that had been around Nick's ankles and rag with a knot in it.

CATHERINE  
Mateo will be glad we found this place.

He turns, watching her. She's getting ready to process the room.

GREG  
Not as much as Nick will. He always  
can tell trustworthy people.

She smiles at him.

CATHERINE  
You believed Mateo even when the  
evidence said something else. Is  
that why?

GREG  
Yes. Nick's never been wrong.

She glances out the door.

CATHERINE  
Between us, Greg, I'm glad I was wrong.

They begin processing the scene.

INT. SUNRISE HSP - HALLWAY - DAY

With a nurse's help, Nick is moving slowly down the hall. And flirting with her. Somewhere behind them a familiar face follows at a distance.

INT. SUNRISE HSP - ROOM 412 - DAY

They turn into his room and find Mateo sitting in a chair waiting. Nick doesn't say anything to the teenager. The **NURSE** helps Nick into bed and starts checking his vitals.

MATEO  
You look like you was beat up with  
a baseball bat, Nick.

NICK  
A crowbar.

The nurse finishes.

NURSE  
Lunch should be here soon. Do you  
need anything?

Nick shakes his head and she leaves. Mateo gets up and stands next to the bed.

MATEO  
A crowbar? Really?

Nick nods. He smiles, focusing on Mateo.

NICK  
Thank you for saving my life, Mateo.  
Greg told me you bandaged me up and  
flagged down help.

Mateo looks down, getting watery eyed.

NICK (CONT'D)  
What's wrong?

Mateo suddenly hugs him. Nick smiles, patting his arm.

MATEO  
I thought you were going to die.  
You and my mom, that's all I got,  
Nick. I was scared.

Nick's smile wanes when he looks in a corner of his room. He quickly looks away.

NICK  
I'm fine now. I'm okay.

Mateo stands up.

MATEO  
You're not fine! Look at'chu!  
You're all bandages and your  
face is all bruises!

NICK  
So did you like being in jail?

Mateo's thrown by the question.

MATEO  
No. Why'd you ask that?

NICK  
My evil plot worked then.

MATEO  
What plot?

NICK  
I would go and get beat up, you'd  
rescue me, but then everyone would  
get it all wrong, you'd get to see  
what jail was like, and in the end,  
the evil plot to keep you out of jail,  
worked. Didn't it?

Mateo laughs, waving him off. He takes a couple steps toward the door.

MATEO  
Just for that, I'm gonna find  
another best friend, man. I don't  
have to take this from you.

Nick chuckles. Mateo returns to the bedside.

MATEO (CONT'D)  
So you know how you told me you  
thought I could be a paramedic?

Nick remembers.

MATEO (CONT'D)  
Well, I took the entry exam at the  
community college and blew the top  
off. Except English. I can start  
taking my paramedic classes when  
the next semester starts.

NICK  
I'm proud of you, Mateo. That's  
great news.

MATEO  
Yeah. Well, I gotta go. Gotta job  
at the chicken shack. Not exactly  
what I wanna do, but maybe I can  
earn up enough to pay for my first semester.

NICK  
Maybe. See you later, Mateo.

Mateo hugs him, and then leaves. Nick's smile vanishes as his eyes slide to stare at Warrick standing in the corner. Warrick crosses the room to sit on the deep window ledge.

NICK (CONT'D)  
Go away! You aren't real.

WARRICK  
You're the one that keeps bringing  
me back.

Nick doesn't have a reply for that.

WARRICK (CONT'D)  
Isn't it funny that it took you almost  
dying to make so many good things happen?  
Imagine how I felt? I actually had  
to die for that to happen.

NICK  
Nothing good came out of your death.

WARRICK  
You caught the Under Sheriff.

NICK  
That would have happened eventually.  
You didn't need to die.

Nick looks away when an orderly walks in with lunch. They exchange smiles when he sets the tray on the bed table. He leaves and Nick looks back looks at the window. Warrick is gone. Forever? Or just for now?

FADE OUT.

THE END


End file.
